Yeah Yeah Yeahs: Show Your Bones
Review By: Joe

So the radio pretty much sucks, yeah? But, how nice! The Yeah Yeah Yeahs have arrived! You know, again! For those of you who are lames, the Yeah Yeah Yeahs came out with an album, holy shit, three years ago. Oh, I'm so old, you guys.

Okay, so they had a bunch of singles like Machine, which is great, and then this EP and it had awesome songs on it like Art Star and some other stuff but that's the best one. Then the album came about and, you know, some of it was very good indeed. But it did heavily embrace the sloppy funky garage sound. It sort of sounded like it all got recorded in one go or some such.

I liked a good bit of it! Y Control is great and I like Pin even though I think the band might not. But some was not necessary like the end of No No No, which was almost just noise for like a minute or so (although I did use that stuff in 2 Enchanted 2 Nemesis so now you know about this) and the last track, Modern Romance, struck me as a bit of a throwaway (and The Rapture have a song with the same name which is quite a bit better).

So three years later they've come out with this new album, Show Your Bones. The noise is lessened, the sloppiness is not there, and there's pianos and stuff sometimes. Basically, the sound on here is just not the same band...almost entirely really. They still don't have a bassist though! Bonza!!!

I will actually try to do a half-decent job of discussing it for some reason. Because I like it. And I like you too. :D!!!!!!!!

Gold Lion is the first track and it's the single. It's very simple and Karen O admits to ripping off the opening drumbeat off of We Will Rock You so good for her! It's catchy and implies that the new album ain't gonna sound like the old shit!!! Interestingly, it's also easily the most simple track on the whole album and it's really nothing like the rest of it. I listened to it a lot as a single before the album came out so I listen to it less, but it still strikes me as quite great and I don't mind hearing it.

It's a little bit of a SCARE! when the first track is also the single because it makes you go "Oh gosh, maybe that is the only good song!" Luckily, the second track, Way Out, is one of the best on the album. It's just a very awesome song that demonstrates some wondrous poppery and sets you up for the fact that the songs have a number of different parts and that Karen O isn't going to scream and growl at you quite as much. The yells she does do here are well-placed. This based on the Frothenberg Yell Placement Scale. Also, I kind of like the lyrics even though I'm sure I don't know what they are trying to say. Something about Karen O is likely.

Fancy is a darker song, with some growling, maybe the tiniest bit reminiscent of the old Yeah Yeah Yeahs. It's definitely good and very interesting, but not really one of my favez, probably just because it's the longest song on the album and I eat a lot of sugar. Still, I enjoy it a lot, and considering I'd call it one of my less-liked songs on the album, that's somethin'!!!

Phenomena is basically the song for you to say "Ohhh, good, they are still funky." Again, it's far more complex (the breakdown is some intense shit, man!) a funky than the band would have produced earlier in their career. Also really cool! I like the drumming and guitar riff on this and also the annoying siren sound is cool! Pretty easily likeable but, in the end, not so much my favorite either. AND I LIKE IT SO WELL!! Also, Karen O essentially ripped off of Grandmaster Flash's White Lines with the lyric "something like a phenomena," the difference being that she pluralized the last word. I can't imagine she's not aware of this though so, whatever, that's super.

Honeybear is supercool! I love me some Honeybear. I like the opening lyric "Turn yourself around, you weren't invited" and the solo is the fucking awesomest vaguely irish-sounding thing. Oddly enough, I never see reviewers complaining about Karen O's voice. I think it's a very interesting, cool punky rock punk punk voice that contributes an added interesting flavor to the band's sound and she can sometimes do some great stuff with it but, still, there's a lot of notes she just can't hit. Sometimes this results in her singing past her range sort of and it working out fine anyway like good rock should. Other times, though, it's really just out of tune and you wish she'd have hit the note. My only real issue with this song is that there's some of that going on near the beginning.

Cheated Hearts is a great song that I could totally see being another single (although it would not be my personal choice). It has a lovely inspirational lyric, "Sometimes I think that I'm bigger than the sound" which is repeated enough to make you feel like you are just the best! Or at least that Karen O is the best and by listening to her music you are, by association, some dirtier lower level of the best. This song has a lot of cool parts and is very lovely nice at times but then also has great LOUDNESS like some good Pixies influence perchance??? Also!!! Hand claps??!!? WHY, THANK YOU, YES, I'D LOVE SOME.

Dudley! This song is called Dudley. You know, a lot of these songs start out a little slow and I go "Hmm, maybe I don't feel like listening through that one again" and then I listen and realize "Well, this is just about as awesome as everything else on here, isn't it?" Dudley manages to pull that on me pretty much every time, largely because the opening crooning that Karen O does is basically sung the same way one sings "Rockabye Baby" and sounding like a lullaby is just a little strange. It doesn't stick with this the whole time, though, and gets much better as it goes on. I do like parts of this song more than the whole thing really, though.

Mysteries is a little cheesy sounding like some kind of hillbilly punk at the beginning (I think the term might be rock-a-billy). Again, gets a lot better, but this may very well be my least favorite track on the album and it happens to be the shortest and simplest (except for maybe Gold Lion). HOW VERY INTERESTING TO NOTE. It does end with some Karen O screaming and Nick Zinner guitar thrashing that is the most they ever sound like Fever to Tell.

The Sweets is another of my favorites, starting very soft with a slow, uhhh tribalesque? drumbeat and going into an awesome buildup around the middle. Again, the lyrics seem to compliment the music really well ("Can we meet again? Meet and meet and meet and meet again?!") even though I am not much particularly knowledgable in the way of what makes a lyric sexy. This song rocks your fucking face off. And it's so pretty at the same time too. Play this one for that dumb girl you like. You know, the one with the rack.

Warrior was a song I was initially not very warm to. It just seemed to me to be going too artsy and uhh Native American and you know how I feel about that. I just wanted this song to get to the rocking and it, like, doesn't for a bit. But is it actually good? Of course it is, goddamn it. It's on this album, isn't it? It does rock out eventually and it does a damn fine job of it too. I'd probably like it more if the next track didn't kick its ass.

Turn Into is the last track on this oddly numbered eleven-track extravaganza. I love this song! Some of the harmony at first makes you all like "What is this, country/tofu?" It also always sounds like she starts to say "keep that cunt..." but I believe it's "keep that corner window closed." There's an awesome piano part (actually reminiscent from some of the music from the game Monkey Island 2, uhh, yep) and then an awesome theremin-like effect on Nick's guitar and then a bucket of crawdads and the song ends all WOW KAZAAM WITH SHAQ BLAM!!! And also closes out with some fun fun fun that makes you go "Oh they are still just sloppy cool dudes, aren't they!"

This is the end of the album for us but if you happen to be in the UK you get a twelfth track called Deja Vu which is probably the noisiest screamiest punk-disco thing on the album. It's great though, largely because of Karen O saying "It's deeeeee jaaaaaavuuuuuuu!" which is hilarious and brilliant and awesome and a very cool use of her voCALITY. DOWNLOAD IT, AMERICAN DOG (dawg in applicable states).

Karen, no!

So, yeah, I love this album. I think it's so impressive just how incredibly much the band has evolved. It'd be nice if Karen O could hit a few more of her notes but otherwise I love how she sounds, I think Brian Chase, the drummer, does a lot of kickass drumming with some very interesting but not too overdone beats and guitarist Nick Zinner demonstrates the fact that he's really quite talented. It's also a perfect size at just under forty minutes (well, just over if you count Deja Vu and you SHOULD), which is a nice chunk of musick but not so much to bore me. Anyhoo, I'm already interested to see what they gonna come out with next.

This is an exceptional effort, this is. It's always kind of shitty when an unpopular band you like gets some success and starts churning out the same old thing so it's a testament to how awesome the Yeah Yeah Yeahs are that their last album went gold and they decided they did NOT want a Fever to Tell 2 and, my goodness, did they manage it there. If you are disappointed because you did want Fever to Tell 2, well you smell and don't understand how good music is supposed to work or, indeed, good art. You evolve, you change, you try different things, you refine yourself, or else there's no bloody point.

I suppose I have a mild lament for the almost complete loss of the old "dirty" sound and the fact that the producer (SQUEAK E. CLEAN!!!!!) seems to have infused a fair bit of the music with noises and effects but, you know sumptin', they mostly work well. It's very much a studio album, no mistake, but it's a damn good one.

It's nice to think that there's a relatively popular band out there that is actually doing good things. When the rapture arrives, the Yeah Yeah Yeahs will likely play a pivotal role for the human race. The Rapture on the other hand, well, I guess we'll see if they even show up.

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